WednesdayFebruary 1, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
2F-2 Buddhist Paintings
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Jiangnan Region and West Lake
2F-4 Momoyama-Edo Paintings
Scenes in and around the Capital: Rakuchū rakugai zu
2F-5 Chinese Paintings
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
ThursdayFebruary 2, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
2F-2 Buddhist Paintings
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Jiangnan Region and West Lake
2F-4 Momoyama-Edo Paintings
Scenes in and around the Capital: Rakuchū rakugai zu
2F-5 Chinese Paintings
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
FridayFebruary 3, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
2F-2 Buddhist Paintings
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Jiangnan Region and West Lake
2F-4 Momoyama-Edo Paintings
Scenes in and around the Capital: Rakuchū rakugai zu
2F-5 Chinese Paintings
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
SaturdayFebruary 4, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
2F-2 Buddhist Paintings
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Jiangnan Region and West Lake
2F-4 Momoyama-Edo Paintings
Scenes in and around the Capital: Rakuchū rakugai zu
2F-5 Chinese Paintings
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
SundayFebruary 5, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
2F-2 Buddhist Paintings
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Jiangnan Region and West Lake
2F-4 Momoyama-Edo Paintings
Scenes in and around the Capital: Rakuchū rakugai zu
2F-5 Chinese Paintings
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
MondayFebruary 6, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1
2F-2
2F-3
2F-4
2F-5
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
TuesdayFebruary 7, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
WednesdayFebruary 8, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
ThursdayFebruary 9, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
FridayFebruary 10, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
SaturdayFebruary 11, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
SundayFebruary 12, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
MondayFebruary 13, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
TuesdayFebruary 14, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
WednesdayFebruary 15, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
ThursdayFebruary 16, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
FridayFebruary 17, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
SaturdayFebruary 18, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
SundayFebruary 19, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
MondayFebruary 20, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
TuesdayFebruary 21, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
WednesdayFebruary 22, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
ThursdayFebruary 23, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
FridayFebruary 24, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
SaturdayFebruary 25, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
SundayFebruary 26, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
- 1F
1F-1 Sculpture
Buddhist and Shinto Sculpture of Kyoto
1F-2 Feature Exhibition
Feature Exhibition: Celebrating the Japanese Doll Festival
1F-3 Calligraphy
Masterworks from the Matsumoto Collection
1F-4 Textiles and Costumes
Kimono Modern
1F-5 Metalwork
Decorating Swords II
1F-6 Lacquerware
Cosmetic and Toiletry Implements
MondayFebruary 27, 2023
The Museum is ClosedCalendarSee Current Exhibition Details
- Galleries and Exhibition Themes
- 3F
3F-1
3F-2
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
TuesdayFebruary 28, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
3F-1
3F-2
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
WednesdayFebruary 29, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
3F-1
3F-2
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
ThursdayFebruary 30, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
3F-1
3F-2
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
FridayFebruary 31, 2023
Exhibitions
- Galleries and Exhibition Themes
- 3F
3F-1
3F-2
- 2F
2F-1 Illustrated Handscrolls
Illustrated Biographies of Ji Shū Patriarchs
2F-2 Buddhist Paintings
Parinirvāṇa: Picturing the Death of the Buddha
2F-3 Medieval Paintings
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
2F-4 Momoyama-Edo Paintings
Kano School Painters of Kyoto: Kano Sanraku
2F-5 Chinese Paintings
Chinese Finger Painting
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
January 2–February 5, 2023
Illustrated Handscrolls|2F-1 gallery
2023 marks the 1250th anniversary of the birth of Kūkai (774–835), posthumously known as Kōbō Daishi, one of the most revered Buddhist priests and cultural figures in Japanese history. Kūkai was born in Sanuki province (present-day Kagawa prefecture) and enrolled in the state university in the Heian capital (Kyoto), but when he encountered Buddhism, he came to regard it as the highest of all teachings. After becoming a monk, he traveled to Tang-dynasty China to study the doctrines of Esoteric Buddhism. Upon return to Japan, Kūkai was revered by the Japanese court and government, and he established the temples Kongōbu-ji on Mt. Koya and Tō-ji (Kyōōgokoku-ji) in Kyoto. This laid the foundations for the establishment of the Shingon school of Esoteric Buddhism that continues to this day. Kūkai’s influence extended beyond the history of Japanese religion, touching the realms of literature, the arts, medicine, and engineering. This exhibition traces Kūkai’s life story through a complete version of his illustrated biography owned by the temple Anrakuju-in.
Secret Origin Tales of Eminent Priest Daishi, Vol. 1
By Yukitada
Anrakuju-in Temple, Kyoto
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
January 2–February 5, 2023
Buddhist Paintings|2F-2 gallery
The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist riteof passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.
Important Cultural Property
Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga
Famous Chinese Landscapes: The Jiangnan Region and West Lake
January 2–February 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. During this time, foreign goods came into Japan in large quantities, brought by traders or by those who traveled abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as an international art form that connected the cultures of East Asia.
The ink paintings featured in this exhibition portray various images of Jiangnan, a Chinese region south of the lower reaches of the Yangtze River, which from ancient times has been a major center of culture and religion. During Japan’s medieval period, it also became important in the cultural imagination of people of this country, many of whom visited its trade hub in the coastal city of Ningpo or traveled to study at its many Zen (Ch: Chan) Buddhist temples. Jiangnan came to be envisioned as a model of the continental landscape and admired for such scenic spots as West Lake – a site famous in historical and literary history.
Important Cultural Property
Views of Lakes and Mountains
By Shōkei, inscription by Kōshi Ehō
Kyoto National Museum
Scenes in and around the Capital: Rakuchū rakugai zu
January 2–February 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
The city of Kyoto prospered from the Heian period (794–1185) onward both as the Japanese capital and as the seat of the emperor. It was not until the Muromachi period (1392–1573) that the first panoramic views of the city and its surroundings were pictorialized in painted form. These cityscapes first appeared as a genre of large folding screen paintings called Rakuchū rakugai zu, meaning “Scenes in and around the Capital.”
The most distinctive feature of Rakuchū rakugai zu screens is that they were based on the actual locations of streets and buildings in Kyoto. By skillfully partitioning the screen into multiple sections using golden clouds and haze, they cleverly direct attention to the important motifs while simultaneously depicting the whole city without any sense of incongruity. As works of creative imagination, they also occasionally incorporated events from the past. By layering accumulated memories onto the cityscape, the screens invite modern viewers to be absorbed and wander through their unique rendering of Japan’s former capital, Kyoto.
Amusements at Famous Locations around Kyoto (left screen)
By Kano Eitoku
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
January 2–February 5, 2023
Chinese Paintings|2F-5 gallery
A history of modern Chinese painting cannot be told without the duo known as “Zhang of the South and Pu of the North.” Zhang Daqian (Zhang Yuan; 1889–1983) was born in Sichuan province and learned painting from his mother. Around the age of 20, he moved to Shanghai to pursue a career as a professional painter. He was active internationally and his work remains highly regarded throughout the world. Pu Xinyu (Puru; 1896–1963) was a cousin of the last emperor of the Qing dynasty. From an early age, he honed a deep knowledge of poetry, calligraphy, and painting and came to lead the Beijing art world with his sophisticated and elegant style of painting. This exhibition introducing a selection of their art commemorates a recent donation of twenty-eight works to the museum by the Japanese artist Itō Shikō (b. 1935), who was a former student of these two great masters.
Wild Geese Returning and a Cliff
By Zhang Daqian
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
January 2–February 5, 2023
Illustrated Handscrolls|2F-1 gallery
2023 marks the 1250th anniversary of the birth of Kūkai (774–835), posthumously known as Kōbō Daishi, one of the most revered Buddhist priests and cultural figures in Japanese history. Kūkai was born in Sanuki province (present-day Kagawa prefecture) and enrolled in the state university in the Heian capital (Kyoto), but when he encountered Buddhism, he came to regard it as the highest of all teachings. After becoming a monk, he traveled to Tang-dynasty China to study the doctrines of Esoteric Buddhism. Upon return to Japan, Kūkai was revered by the Japanese court and government, and he established the temples Kongōbu-ji on Mt. Koya and Tō-ji (Kyōōgokoku-ji) in Kyoto. This laid the foundations for the establishment of the Shingon school of Esoteric Buddhism that continues to this day. Kūkai’s influence extended beyond the history of Japanese religion, touching the realms of literature, the arts, medicine, and engineering. This exhibition traces Kūkai’s life story through a complete version of his illustrated biography owned by the temple Anrakuju-in.
Secret Origin Tales of Eminent Priest Daishi, Vol. 1
By Yukitada
Anrakuju-in Temple, Kyoto
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
January 2–February 5, 2023
Buddhist Paintings|2F-2 gallery
The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist riteof passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.
Important Cultural Property
Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga
Famous Chinese Landscapes: The Jiangnan Region and West Lake
January 2–February 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. During this time, foreign goods came into Japan in large quantities, brought by traders or by those who traveled abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as an international art form that connected the cultures of East Asia.
The ink paintings featured in this exhibition portray various images of Jiangnan, a Chinese region south of the lower reaches of the Yangtze River, which from ancient times has been a major center of culture and religion. During Japan’s medieval period, it also became important in the cultural imagination of people of this country, many of whom visited its trade hub in the coastal city of Ningpo or traveled to study at its many Zen (Ch: Chan) Buddhist temples. Jiangnan came to be envisioned as a model of the continental landscape and admired for such scenic spots as West Lake – a site famous in historical and literary history.
Important Cultural Property
Views of Lakes and Mountains
By Shōkei, inscription by Kōshi Ehō
Kyoto National Museum
Scenes in and around the Capital: Rakuchū rakugai zu
January 2–February 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
The city of Kyoto prospered from the Heian period (794–1185) onward both as the Japanese capital and as the seat of the emperor. It was not until the Muromachi period (1392–1573) that the first panoramic views of the city and its surroundings were pictorialized in painted form. These cityscapes first appeared as a genre of large folding screen paintings called Rakuchū rakugai zu, meaning “Scenes in and around the Capital.”
The most distinctive feature of Rakuchū rakugai zu screens is that they were based on the actual locations of streets and buildings in Kyoto. By skillfully partitioning the screen into multiple sections using golden clouds and haze, they cleverly direct attention to the important motifs while simultaneously depicting the whole city without any sense of incongruity. As works of creative imagination, they also occasionally incorporated events from the past. By layering accumulated memories onto the cityscape, the screens invite modern viewers to be absorbed and wander through their unique rendering of Japan’s former capital, Kyoto.
Amusements at Famous Locations around Kyoto (left screen)
By Kano Eitoku
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
January 2–February 5, 2023
Chinese Paintings|2F-5 gallery
A history of modern Chinese painting cannot be told without the duo known as “Zhang of the South and Pu of the North.” Zhang Daqian (Zhang Yuan; 1889–1983) was born in Sichuan province and learned painting from his mother. Around the age of 20, he moved to Shanghai to pursue a career as a professional painter. He was active internationally and his work remains highly regarded throughout the world. Pu Xinyu (Puru; 1896–1963) was a cousin of the last emperor of the Qing dynasty. From an early age, he honed a deep knowledge of poetry, calligraphy, and painting and came to lead the Beijing art world with his sophisticated and elegant style of painting. This exhibition introducing a selection of their art commemorates a recent donation of twenty-eight works to the museum by the Japanese artist Itō Shikō (b. 1935), who was a former student of these two great masters.
Wild Geese Returning and a Cliff
By Zhang Daqian
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
January 2–February 5, 2023
Illustrated Handscrolls|2F-1 gallery
2023 marks the 1250th anniversary of the birth of Kūkai (774–835), posthumously known as Kōbō Daishi, one of the most revered Buddhist priests and cultural figures in Japanese history. Kūkai was born in Sanuki province (present-day Kagawa prefecture) and enrolled in the state university in the Heian capital (Kyoto), but when he encountered Buddhism, he came to regard it as the highest of all teachings. After becoming a monk, he traveled to Tang-dynasty China to study the doctrines of Esoteric Buddhism. Upon return to Japan, Kūkai was revered by the Japanese court and government, and he established the temples Kongōbu-ji on Mt. Koya and Tō-ji (Kyōōgokoku-ji) in Kyoto. This laid the foundations for the establishment of the Shingon school of Esoteric Buddhism that continues to this day. Kūkai’s influence extended beyond the history of Japanese religion, touching the realms of literature, the arts, medicine, and engineering. This exhibition traces Kūkai’s life story through a complete version of his illustrated biography owned by the temple Anrakuju-in.
Secret Origin Tales of Eminent Priest Daishi, Vol. 1
By Yukitada
Anrakuju-in Temple, Kyoto
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
January 2–February 5, 2023
Buddhist Paintings|2F-2 gallery
The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist riteof passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.
Important Cultural Property
Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga
Famous Chinese Landscapes: The Jiangnan Region and West Lake
January 2–February 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. During this time, foreign goods came into Japan in large quantities, brought by traders or by those who traveled abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as an international art form that connected the cultures of East Asia.
The ink paintings featured in this exhibition portray various images of Jiangnan, a Chinese region south of the lower reaches of the Yangtze River, which from ancient times has been a major center of culture and religion. During Japan’s medieval period, it also became important in the cultural imagination of people of this country, many of whom visited its trade hub in the coastal city of Ningpo or traveled to study at its many Zen (Ch: Chan) Buddhist temples. Jiangnan came to be envisioned as a model of the continental landscape and admired for such scenic spots as West Lake – a site famous in historical and literary history.
Important Cultural Property
Views of Lakes and Mountains
By Shōkei, inscription by Kōshi Ehō
Kyoto National Museum
Scenes in and around the Capital: Rakuchū rakugai zu
January 2–February 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
The city of Kyoto prospered from the Heian period (794–1185) onward both as the Japanese capital and as the seat of the emperor. It was not until the Muromachi period (1392–1573) that the first panoramic views of the city and its surroundings were pictorialized in painted form. These cityscapes first appeared as a genre of large folding screen paintings called Rakuchū rakugai zu, meaning “Scenes in and around the Capital.”
The most distinctive feature of Rakuchū rakugai zu screens is that they were based on the actual locations of streets and buildings in Kyoto. By skillfully partitioning the screen into multiple sections using golden clouds and haze, they cleverly direct attention to the important motifs while simultaneously depicting the whole city without any sense of incongruity. As works of creative imagination, they also occasionally incorporated events from the past. By layering accumulated memories onto the cityscape, the screens invite modern viewers to be absorbed and wander through their unique rendering of Japan’s former capital, Kyoto.
Amusements at Famous Locations around Kyoto (left screen)
By Kano Eitoku
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
January 2–February 5, 2023
Chinese Paintings|2F-5 gallery
A history of modern Chinese painting cannot be told without the duo known as “Zhang of the South and Pu of the North.” Zhang Daqian (Zhang Yuan; 1889–1983) was born in Sichuan province and learned painting from his mother. Around the age of 20, he moved to Shanghai to pursue a career as a professional painter. He was active internationally and his work remains highly regarded throughout the world. Pu Xinyu (Puru; 1896–1963) was a cousin of the last emperor of the Qing dynasty. From an early age, he honed a deep knowledge of poetry, calligraphy, and painting and came to lead the Beijing art world with his sophisticated and elegant style of painting. This exhibition introducing a selection of their art commemorates a recent donation of twenty-eight works to the museum by the Japanese artist Itō Shikō (b. 1935), who was a former student of these two great masters.
Wild Geese Returning and a Cliff
By Zhang Daqian
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
January 2–February 5, 2023
Illustrated Handscrolls|2F-1 gallery
2023 marks the 1250th anniversary of the birth of Kūkai (774–835), posthumously known as Kōbō Daishi, one of the most revered Buddhist priests and cultural figures in Japanese history. Kūkai was born in Sanuki province (present-day Kagawa prefecture) and enrolled in the state university in the Heian capital (Kyoto), but when he encountered Buddhism, he came to regard it as the highest of all teachings. After becoming a monk, he traveled to Tang-dynasty China to study the doctrines of Esoteric Buddhism. Upon return to Japan, Kūkai was revered by the Japanese court and government, and he established the temples Kongōbu-ji on Mt. Koya and Tō-ji (Kyōōgokoku-ji) in Kyoto. This laid the foundations for the establishment of the Shingon school of Esoteric Buddhism that continues to this day. Kūkai’s influence extended beyond the history of Japanese religion, touching the realms of literature, the arts, medicine, and engineering. This exhibition traces Kūkai’s life story through a complete version of his illustrated biography owned by the temple Anrakuju-in.
Secret Origin Tales of Eminent Priest Daishi, Vol. 1
By Yukitada
Anrakuju-in Temple, Kyoto
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
January 2–February 5, 2023
Buddhist Paintings|2F-2 gallery
The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist riteof passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.
Important Cultural Property
Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga
Famous Chinese Landscapes: The Jiangnan Region and West Lake
January 2–February 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. During this time, foreign goods came into Japan in large quantities, brought by traders or by those who traveled abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as an international art form that connected the cultures of East Asia.
The ink paintings featured in this exhibition portray various images of Jiangnan, a Chinese region south of the lower reaches of the Yangtze River, which from ancient times has been a major center of culture and religion. During Japan’s medieval period, it also became important in the cultural imagination of people of this country, many of whom visited its trade hub in the coastal city of Ningpo or traveled to study at its many Zen (Ch: Chan) Buddhist temples. Jiangnan came to be envisioned as a model of the continental landscape and admired for such scenic spots as West Lake – a site famous in historical and literary history.
Important Cultural Property
Views of Lakes and Mountains
By Shōkei, inscription by Kōshi Ehō
Kyoto National Museum
Scenes in and around the Capital: Rakuchū rakugai zu
January 2–February 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
The city of Kyoto prospered from the Heian period (794–1185) onward both as the Japanese capital and as the seat of the emperor. It was not until the Muromachi period (1392–1573) that the first panoramic views of the city and its surroundings were pictorialized in painted form. These cityscapes first appeared as a genre of large folding screen paintings called Rakuchū rakugai zu, meaning “Scenes in and around the Capital.”
The most distinctive feature of Rakuchū rakugai zu screens is that they were based on the actual locations of streets and buildings in Kyoto. By skillfully partitioning the screen into multiple sections using golden clouds and haze, they cleverly direct attention to the important motifs while simultaneously depicting the whole city without any sense of incongruity. As works of creative imagination, they also occasionally incorporated events from the past. By layering accumulated memories onto the cityscape, the screens invite modern viewers to be absorbed and wander through their unique rendering of Japan’s former capital, Kyoto.
Amusements at Famous Locations around Kyoto (left screen)
By Kano Eitoku
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
January 2–February 5, 2023
Chinese Paintings|2F-5 gallery
A history of modern Chinese painting cannot be told without the duo known as “Zhang of the South and Pu of the North.” Zhang Daqian (Zhang Yuan; 1889–1983) was born in Sichuan province and learned painting from his mother. Around the age of 20, he moved to Shanghai to pursue a career as a professional painter. He was active internationally and his work remains highly regarded throughout the world. Pu Xinyu (Puru; 1896–1963) was a cousin of the last emperor of the Qing dynasty. From an early age, he honed a deep knowledge of poetry, calligraphy, and painting and came to lead the Beijing art world with his sophisticated and elegant style of painting. This exhibition introducing a selection of their art commemorates a recent donation of twenty-eight works to the museum by the Japanese artist Itō Shikō (b. 1935), who was a former student of these two great masters.
Wild Geese Returning and a Cliff
By Zhang Daqian
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
The Illustrated Biography of Kōbō Daishi Kūkai: Commemorating the 1250th Anniversary of His Birth
January 2–February 5, 2023
Illustrated Handscrolls|2F-1 gallery
2023 marks the 1250th anniversary of the birth of Kūkai (774–835), posthumously known as Kōbō Daishi, one of the most revered Buddhist priests and cultural figures in Japanese history. Kūkai was born in Sanuki province (present-day Kagawa prefecture) and enrolled in the state university in the Heian capital (Kyoto), but when he encountered Buddhism, he came to regard it as the highest of all teachings. After becoming a monk, he traveled to Tang-dynasty China to study the doctrines of Esoteric Buddhism. Upon return to Japan, Kūkai was revered by the Japanese court and government, and he established the temples Kongōbu-ji on Mt. Koya and Tō-ji (Kyōōgokoku-ji) in Kyoto. This laid the foundations for the establishment of the Shingon school of Esoteric Buddhism that continues to this day. Kūkai’s influence extended beyond the history of Japanese religion, touching the realms of literature, the arts, medicine, and engineering. This exhibition traces Kūkai’s life story through a complete version of his illustrated biography owned by the temple Anrakuju-in.
Secret Origin Tales of Eminent Priest Daishi, Vol. 1
By Yukitada
Anrakuju-in Temple, Kyoto
Twelve Devas Screens and the World of Esoteric Buddhist Ritual
January 2–February 5, 2023
Buddhist Paintings|2F-2 gallery
The Twelve Devas were originally Hindu deities who protected sacred ritual spaces from all twelve directions. The screens on display in this exhibition feature these guardian deities as they were once used in esoteric Buddhist initiation rituals called kanjō (Sanskrit: abhiṣeka) in Japan. Originally, abhiṣeka was part of an ancient Indian royal consecration rite, in which water would be poured on the head of the monarch during the accession ceremony. In Japan, this ritual was adopted as a Buddhist riteof passage, in which the practitioner would be purified by water sprinkled over him as a confirmation of his initiation into the esoteric teachings. The inclusion of the Twelve Devas into the rite, however, is considered a purely Japanese development. It is only from the twelfth century onward that these deities came to be depicted in pairs of six-panel folding screens. Previously portrayed seated on pedestals, they now assumed a standing posture that was better adapted to the elongated panels of the folding screen format.
Important Cultural Property
Twelve Devas
Attributed to Takashina Takakane
Shōjuraikō-ji Temple, Shiga
Famous Chinese Landscapes: The Jiangnan Region and West Lake
January 2–February 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. During this time, foreign goods came into Japan in large quantities, brought by traders or by those who traveled abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as an international art form that connected the cultures of East Asia.
The ink paintings featured in this exhibition portray various images of Jiangnan, a Chinese region south of the lower reaches of the Yangtze River, which from ancient times has been a major center of culture and religion. During Japan’s medieval period, it also became important in the cultural imagination of people of this country, many of whom visited its trade hub in the coastal city of Ningpo or traveled to study at its many Zen (Ch: Chan) Buddhist temples. Jiangnan came to be envisioned as a model of the continental landscape and admired for such scenic spots as West Lake – a site famous in historical and literary history.
Important Cultural Property
Views of Lakes and Mountains
By Shōkei, inscription by Kōshi Ehō
Kyoto National Museum
Scenes in and around the Capital: Rakuchū rakugai zu
January 2–February 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
The city of Kyoto prospered from the Heian period (794–1185) onward both as the Japanese capital and as the seat of the emperor. It was not until the Muromachi period (1392–1573) that the first panoramic views of the city and its surroundings were pictorialized in painted form. These cityscapes first appeared as a genre of large folding screen paintings called Rakuchū rakugai zu, meaning “Scenes in and around the Capital.”
The most distinctive feature of Rakuchū rakugai zu screens is that they were based on the actual locations of streets and buildings in Kyoto. By skillfully partitioning the screen into multiple sections using golden clouds and haze, they cleverly direct attention to the important motifs while simultaneously depicting the whole city without any sense of incongruity. As works of creative imagination, they also occasionally incorporated events from the past. By layering accumulated memories onto the cityscape, the screens invite modern viewers to be absorbed and wander through their unique rendering of Japan’s former capital, Kyoto.
Amusements at Famous Locations around Kyoto (left screen)
By Kano Eitoku
Zhang of the South and Pu of the North: Zhang Daqian and Pu Xinyu – Two Masters of Modern Chinese Painting
January 2–February 5, 2023
Chinese Paintings|2F-5 gallery
A history of modern Chinese painting cannot be told without the duo known as “Zhang of the South and Pu of the North.” Zhang Daqian (Zhang Yuan; 1889–1983) was born in Sichuan province and learned painting from his mother. Around the age of 20, he moved to Shanghai to pursue a career as a professional painter. He was active internationally and his work remains highly regarded throughout the world. Pu Xinyu (Puru; 1896–1963) was a cousin of the last emperor of the Qing dynasty. From an early age, he honed a deep knowledge of poetry, calligraphy, and painting and came to lead the Beijing art world with his sophisticated and elegant style of painting. This exhibition introducing a selection of their art commemorates a recent donation of twenty-eight works to the museum by the Japanese artist Itō Shikō (b. 1935), who was a former student of these two great masters.
Wild Geese Returning and a Cliff
By Zhang Daqian
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Ceramics of Japan and East Asia
January 2–February 26, 2023
Ceramics|3F-1 gallery
Ceramics are prized not only for their beauty but also for their uses as dishes and in other quotidian functions. East Asian ceramics have a particularly wide range of patterns, forms, colors, and applications. They can incorporate vastly different materials and techniques, resulting in wares as diverse as earthenware or porcelain, with distinguishing characteristics deriving from the types of clay, the glazes, the décor, and the firing techniques employed at the site of their production. This gallery features a variety of ceramics from Japan, China, and the Korean Peninsula, pieces exemplifying the distinctive qualities and assets of each kiln site.
Tomb Figure of a Court Lady
Kyoto National Museum
Special Viewing
Kumamoto and Miyazaki in the Kofun Period: Stone Figures and Shell Bracelets
January 2–February 26, 2023
Archaeological Relics|3F-2 gallery
Kofun-period culture arose in the Kinai region in the middle of the third century, and by the fourth century common features could be seen stretching from the northeastern Tohoku region to the southwestern island of Kyushu. These included similarities in residences and the shapes of keyhole-shaped tumuli called “kofun.” But by the fifth and sixth centuries, evidence of noticeable differences appeared in the styles of stone burial chambers and the burial goods contained in these tumuli.
Among these broader changes, the south-central region of Kyushu developed a unique burial culture independent of the Honshu and Shikoku regions. Prime examples include stone figures called sekijin and figures carved in relief that have been found mainly in Kumamoto and Fukuoka prefectures, as well as bracelets made from shell imported from oceans to the south, which were discovered in Miyazaki. This exhibition shows that, far from the popular image of regional uniformity, the Kumamoto and Miyazaki regions developed their own unique Kofun culture.
Shell Bracelet
From Ōtsubo Tomb No. 1, Miyazaki
Saitobaru Archaeological Museum of Miyazaki Prefecture
Object with Incised Lines and Arcs
From Kunigoshi Tumulus, Kumamoto
Kumamoto Prefectural Decorated Tumulus Museum
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Masterworks from the Matsumoto Collection
January 31–February 26, 2023
Calligraphy|1F-3 gallery
The Matsumoto Collection counts among the museum’s most important collections of Buddhist scriptures. Comprising 89 ancient manuscripts and 33 woodblock-printed books, the collection was assembled by Matsumoto Bunzaburō (1869–1944), a prolific scholar of Indian philosophy and Buddhism. Among his many noteworthy accomplishments, Matsumoto edited the Japanese Buddhist Canon (Nihon daizōkyō) and was a founding member of the Faculty of Letters at Kyoto Imperial University (now Kyoto University), where he later served as president. The works in this exhibition include manuscripts from Central Asia and the Goryeo dynasty and are a testament to the far-reaching scholarship of their collector.
The Pronunciation of Siddham Syllables, Vol. 1
Kyoto National Museum
Kimono Modern
January 2–February 26, 2023
Textiles and Costumes|1F-4 gallery
In 1867, nearly 700 years of military rule came to an end as the Tokugawa shogunate announced the restoration of power to the emperor. This ushered in the beginning of the Meiji period (1868–1912) and a new era in Japanese history. The Meiji government began to actively promote exchange with foreign countries, adopting Western technology and culture. In the world of fashion, new techniques and designs were introduced to traditional forms of weaving and dyeing, while technical innovations brought colorful and gorgeous kimono to wider audiences. Together with new urban lifestyles, a uniquely modern fashion was born.
This exhibition focuses on kimono from the subsequent Taishō (1912–1926) and early Shōwa (1926–1989) periods, a time when Japan's national power was on the rise. Distinct from the styles of the Edo period (1615–1868), these kimono appealed to a new generation of modern Japanese women.
Formal Lined Kimono with Pine Shore; Matching Underrobe
Kyoto National Museum
Decorating Swords II
January 2–February 26, 2023
Metalwork|1F-5 gallery
The sophisticated technology of the Japanese sword is legendary, but its artistry is not limited to the steel blade. The mountings used to protect swords and those who wield them are often elegant works of art in their own right. This exhibition showcases some of Japan's most renowned sword mountings together with outstanding examples of decorative metal sword fittings.
Important Cultural Property
Mounting for Long Sword (Tachi) “Naminohira Yukiyasu” (Gō: Sasanuki)
Kyoto National Museum
Cosmetic and Toiletry Implements
January 2–February 26, 2023
Lacquerware|1F-6 gallery
Today it is increasingly common for men here and elsewhere to wear makeup, but this practice has a long tradition in Japan. Historically, both men and women of high social class applied white powder to their faces and blackened their teeth. Luxury cosmetic implements were not strictly for women, and in some cases, they were presented as offerings to male deities. These sets included specialized implements for burning incense to perfume hair and dress, as well as oils and fine-toothed combs used to condition hair. In the Edo period (1615–1868), wealthy merchants began to imitate the practices of court nobles and samurai by having objects for their daughters’ wedding trousseaus lavishly decorated with makie – a technique in which finely ground gold or silver was sprinkled over a coating of lacquer to create exquisite patterns. These glittering cosmetic implements must certainly have been objects of longing for young urban women of early modern Japan.
National Treasure
Toiletry Case with Fenced Chrysanthemums; Original Contents
Kumano Hayatama Shrine, Wakayama
National Treasure
Comb Case with Fenced Chrysanthemums
Kumano Hayatama Shrine, Wakayama
Also On View in the Collection Galleries特別展観覧料が必要
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Also On View in the Collection Galleries特別展観覧料が必要
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Also On View in the Collection Galleries特別展観覧料が必要
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Also On View in the Collection Galleries特別展観覧料が必要
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto
Also On View in the Collection Galleries特別展観覧料が必要
Illustrated Biographies of Ji Shū Patriarchs
February 7–March 5, 2023
Illustrated Handscrolls|2F-1 gallery
The Japanese Buddhist sect known as the Ji Shū was founded in the Kamakura period (1185–1333) and became known for its ecstatic dancing and chanting (odori nenbutsu). The twelve-volume set of illustrated handscrolls portraying the life of the sect’s founder Ippen (1239–1289) is now registered as a National Treasure. There is, however, another important and distinct group of scrolls that was widely circulated among Ji Shū temples during the medieval period. The Illustrated Legends of the Venerable Itinerant Priests (J: Yugyō shōnin engi-e) is a ten-volume set of illustrated handscrolls first compiled by the priest Sōshun. It not only features events from the life of Ippen but also from the life of the second patriarch, Ta’a (1237–1319). The original scrolls were scattered and lost, but several copies survive. This exhibition introduces important extant examples and related pictorial biographies of medieval Ji Shū patriarchs.
Important Cultural Property
Illustrated Legends of the Venerable Itinerant Priests, Vol. 1
Shinkō-ji Temple, Hyōgo
Parinirvāṇa: Picturing the Death of the Buddha
February 7–March 5, 2023
Buddhist Paintings|2F-2 gallery
The historical Buddha Shakyamuni is said to have died and entered parinirvāṇa, his “final nirvana,” on the fifteenth day of the second lunar month. By the Gregorian calendar, this translates to March 15th, which is when Japanese temples today hold the Nirvana Assembly (nehan-e). A painting of the Death of the Buddha typically hangs at this ceremony.
Many Death of the Buddha paintings are oversized; some are so large that they cannot be fully unrolled, even in grand temple halls. Why such massive dimensions? Perhaps this gave the viewers a more immersive experience akin to a sort of virtual reality. During the Kamakura period (1185–1333), artists were increasingly incorporating new Chinese artistic styles into their Death of the Buddha paintings. These included realistic elements that must have been fascinating to contemporaneous viewers.
The Nirvana Assembly became a staple in Japanese Buddhism probably because of the grand scale and realism of Death of the Buddha
paintings such as these—also because it centers on the historical Buddha Shakyamuni, who is worshiped by many different Buddhist sects.
Death of the Buddha
Kyoto National Museum
Famous Chinese Landscapes: The Eight Views of the Xiao and Xiang Rivers
February 7–March 5, 2023
Medieval Paintings|2F-3 gallery
Before the modern era, the age in which Japanese people most frequently traveled abroad was between the Kamakura (1185–1333) and Muromachi (1392–1573) periods. Foreign goods came into Japan in large quantities during this time, brought back by traders or those who went abroad to study. It was also during this age that monochrome ink painting took root and developed in Japan as part an international art trend connecting the cultures of East Asia.
The “Eight Views of the Xiao and Xiang Rivers” is a poetic theme based on seasonal imagery of watery landscapes around Lake Dongting in China (Hunan province), where the two rivers converge. It has been a popular poetic and pictorial subject since the Song dynasty (960–1279) and played an important role in the history of Japanese ink painting, especially landscape painting. Because the Xiao and Xiang Rivers were located far from Ningpo and other crowded port cities visited by foreign travelers, few Japanese would have seen these sites with their own eyes. Instead, it was scenic depictions filtered through the lens of imported Chinese paintings that served as the basis for the portrayal of ink landscapes in medieval Japan.
Important Cultural Property
Eight Views of the Xiao and Xiang Rivers (right screen)
Myōshin-ji Temple, Kyoto
Kano School Painters of Kyoto: Kano Sanraku
February 7–March 5, 2023
Momoyama-Edo Paintings|2F-4 gallery
During the Edo period (1615–1868), the Kano school dominated the realm of official painting, producing works for the Tokugawa shoguns and other regional warrior houses. With the appointment of Kano Tanyū (1602–1674) to the position of official painter to the shogun following the relocation of the capital to Edo (now Tokyo), the Edo Kano shaped the trajectory of Japanese painting history throughout the early modern period. In contrast, those members of the Kano school who remained in Kyoto and did not serve the shogun followed a different path and were known as the Kyō Kano (or Kyō Gano).
Kano Sanraku (1559–1635) is considered the founder of the Kyotobased Kyō Kano painters. Prior to the rise of the Tokugawa, Sanraku served the Toyotomi clan and found himself on the run following Tokugawa Ieyasu’s victory over Toyotomi Hideyori at the Siege of Osaka in 1615. He was eventually pardoned through the support and protection of powerful benefactors. Remaining in Kyoto, Sanraku developed a painting style inherited from his master, Kano Eitoku, that was both forceful and decorative, and which stood in stark contrast to the work of his peers in Edo.
Chinese Landscape (right screen)
By Kano Sanraku
Myōken-ji Temple, Kyoto
Chinese Finger Painting
February 7–March 5, 2023
Chinese Paintings|2F-5 gallery
Brush and ink are indispensable to Chinese painting, but many artists throughout history experimented with a style of finger painting that substituted the brush for the fingers, hands, and fingernails of the artist. Records suggest that related practices date back to the Tang dynasty (618–907), but it was not until the Qing dynasty (1644–1912) and the painter Gao Qipei (1660–1734) that finger painting came into its own as a true art. Gao is said to have received instruction in his finger painting method from an old man in a dream, and the creative effects that he achieved were noticeably distinct from those produced with the brush. Inspired by its novelty, many painters began to apply this technique to their own painting practice. Finger painting was later adopted and further refined by Ike no Taiga (1723–1776) and other Japanese painters who had taken up the style of Chinese literati artists. This exhibition introduces finger paintings by Gao Qipei and other Chinese painters.
Finger Painted Landscape
By Gao Qipei
Kyoto National Museum
Buddhist and Shinto Sculpture of Kyoto
January 2–March 5, 2023
Sculpture|1F-1 gallery
You may be surprised to learn that the Kyoto National Museum owns relatively few works of sculpture in its permanent collection. Instead, it has the honor of housing many important Buddhist and Shinto icons entrusted to the museum by temples and shrines from across Kyoto prefecture and Japan. This exhibition features some of the sculpture curator’s favorite works on long-term loan from temples and shrines in Kyoto, including nationally designated objects. Most of these masterworks from Kyoto were made between the Nara (710–794) and Kamakura (1185–1333) periods. In addition, the exhibit features a guardian lion and lion dog pair from the early modern period that was recently donated by the nearby Ichihime Shrine along with a statue of a female kami from the shrine, which has been in our care for some time.
Important Cultural Property
Standing Priest Baozhi
Saiō-ji Temple, Kyoto